Sentences with phrase «described as a work of art»

This pricey bit of merchandise, which its owners described as a work of art and a piece of America, was the «bag lady» doll, made by Donald Gourley of California.

# 3 Kjaer Weis Cream Blush Compact ($ 56): It has a packing that could be describe as a work of art, but the inside?

I love finding beautiful, unique fashion that can only be described as a work of art.

Corvettes have always been described as a work of art by enthusiasts.

Good news, since the yellow prototype can only be described as an work of art.

In what can only be described as a work of art, SquareEnix and Audi teamed up to design an unbelievably gorgeous car for Final Fantasy XV and its accompanying full - length CG movie, Kingsglaive.

Therefore, curatorial work could be described as a work of art as well, even if it consists of works they did not create themselves.

Not exact matches

In his book The Art of the Deal (Random House)-- Trump's autobiography which has been described by his ghostwriter as a «nonfiction work of fiction» — he claims his first wife, Ivana, was an alternate for the Czech ski team, yet the Czech Olympic committee says they have no record of this.

My concern is to draw a connection between the broader situation Gioia describes and the dealer's observation, which cuts to the heart of who I am, as a Christian, and the work I do as an art critic, curator, and art historian.

The Royal Academy of Arts describes any work by Gainsborough as «national treasures».

Impressed by the artwork of psychiatric patients, prisoners and children, he amassed a significant collection of such work and invented the influential term art brut — «rough art», often paraphrased in English as «outsider art» — to describe it.

Described as a combination of science, art and interpretation, forensic meteorology mirrors the work that detectives do to solve crimes.

To do this, as they describe in Applied Physics Letters, from AIP Publishing, the team developed an approach to nondestructively identify and quantify the concentration of light - absorbing molecules known as chromophores in ancient paper, the culprit behind the «yellowing» of the cellulose within ancient documents and works of art.

Art director Eric Skillman describes working with Jack on the design for our release of Stanley Kramer's It's a Mad, Mad, Mad, Mad World as one of the highlights of his career.

Though he once described his screenplays as more craft than art, Stoppard's literate film adaptations of various works by major authors have matched him with some of the most esteemed directors in international cinema, beginning with Joseph Losey's The Romantic Englishwoman in 1975.

The multi-award winning artist described the movie collaboration as a «marriage of art and culture» adding that he was «honoured» to have worked on the project.

Often described as the «painter of light,» Turner was part of the Romantic school of painters, whose work eventually led, on visual art's slowly unfolding timeline, to the Impressionists.

Outsider art — also known as visionary art, or art brut — «describes the work of untrained, self - taught people who make art,» says Charles Russell, author of the book Groundwaters: A Century of Art by Self - Taught and Outsider Artisart — also known as visionary art, or art brut — «describes the work of untrained, self - taught people who make art,» says Charles Russell, author of the book Groundwaters: A Century of Art by Self - Taught and Outsider Artisart, or art brut — «describes the work of untrained, self - taught people who make art,» says Charles Russell, author of the book Groundwaters: A Century of Art by Self - Taught and Outsider Artisart brut — «describes the work of untrained, self - taught people who make art,» says Charles Russell, author of the book Groundwaters: A Century of Art by Self - Taught and Outsider Artisart,» says Charles Russell, author of the book Groundwaters: A Century of Art by Self - Taught and Outsider ArtisArt by Self - Taught and Outsider Artists.

Our Take: In our Drive Review we describe the film as a brilliant work of bloody, thrilling, high - art crime drama with some award - worthy performances.

This weekend the Museum of Contemporary Art, as part of its exhibit «Hall of Mirrors: Art and Film Since 1945,» is presenting not only Chantal Akerman, one of the finest filmmakers working anywhere, but also the two features I would describe as her greatest achievements — the 200 - minute narrative Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) and the 107 - minute documentary From the East (D'est, 1993).

In his introduction to the lecture, Arts in Education (AIE) Program Director Steve Seidel described Davis as a «visionary educator» for her progressive work in arts education and her role in the creation of Arts in Education (AIE) Program Director Steve Seidel described Davis as a «visionary educator» for her progressive work in arts education and her role in the creation of arts education and her role in the creation of AIE.

Students analyze, describe, and demonstrate how factors of time and place (such as climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art

The Maserati GranTurismo and the Jaguar F - TYPE were each among the most beautiful cars and described as «works of rolling automotive art.»

Though the art world may not yet have a satisfactory way of referring to artists like Mullen, who are variously described by such leaky terms as self - taught, outsider, and vernacular, it has, over the past few years, shown more interest in them and is gradually growing the existing market for their work.

In the catalogue for «Radical Presence: Black Performance in Contemporary Art,» currently at NYU's Grey Art Gallery, curator Naomi Beckwith describes Mythic Being as «a seminal work of self - fashioning that both posited and critiqued models of gender and racial subjectivity.»

Shields worked comfortably in a range of material approaches and mediums, and his omnivorous eye and deliberate touch encompassed works and techniques that included unique paper pieces and canvases, editioned works, and jewelry (which Shields described as «wearable art»), all of which are featured in this exhibition.

Despite the pronounced effect on his work of the hugely influential Russian - born French painter Nicolas de Stael, described by the art critic Marco Livingstone as, a godsend to Kinley, the young British painter apparently, trod a solitary path that has made him difficult to place in the pantheon of Modern British art.

The work was celebrated at the time for the sheer velocity of movement with which the eye roves the canvas, pointing to de Kooning's interest in creating simultaneous foci, what art historian John Elderfield describes as «multiple centers of interest, and therefore a continual distraction, of vision being shuttled about the surface, so that it may rest anywhere but can settle nowhere» (J. Elderfield, «Space to Paint,» de Kooning: a Retrospective, Museum of Modern Art, New York, 2011, p. 2art historian John Elderfield describes as «multiple centers of interest, and therefore a continual distraction, of vision being shuttled about the surface, so that it may rest anywhere but can settle nowhere» (J. Elderfield, «Space to Paint,» de Kooning: a Retrospective, Museum of Modern Art, New York, 2011, p. 2Art, New York, 2011, p. 25).

For the interview published in the May / June 2013 issue of Art New England (available online here) Miler depicts Lemieux in the studio preparing an exhibition of works that homage her artistic heroes — artists who share an approach that Lemieux describes as «the conceptual, the playful, the «why not»?»

Often drawing upon autobiographical, art historical or sociological sources, Ruby's work is frequently referred to as «post-humanist» — a term that broadly describes a society which, thanks in part to technological advancement, has evolved beyond fixed categories of being (e.g. time / place), or predetermining classifications (e.g. animal / human).

COVER ART April 7: Work by Chicago - based artist Hebru Brantley appears on cover of «The BreakBeat Poets: New American Poetry in the Age of Hip - Hop,» which the publisher describes as «the first poetry anthology by and for the hip - hop generation.»

Although he continued to promote abstract work produced in Britain and throughout Europe, Sylvester believed at this time that figurative art «was capable of going further... that [it] could be more complex, more specific, richer in human content».18 By 1958, however, Sylvester had undergone what he later described as a «Damascene conversion'to the profound achievements of recent American abstraction.

Gerhard Richter fans still giddy from his last major retrospective at New York's Museum of Modern Art in 2002 — which one critic described as «a resounding hosanna of piquant, good, and great paintings» — will get another chance to savor the modern master's art this fall when Tate Modern looks back at 50 years of his work (October 6, 2011, to January 8, 201Art in 2002 — which one critic described as «a resounding hosanna of piquant, good, and great paintings» — will get another chance to savor the modern master's art this fall when Tate Modern looks back at 50 years of his work (October 6, 2011, to January 8, 201art this fall when Tate Modern looks back at 50 years of his work (October 6, 2011, to January 8, 2012).

The piece is described by Koons as «a Trojan horse to the whole body of art work».

Marten, 31, was praised by judges for her «fresh, exciting and new» contribution to contemporary art, and Hepworth Wakefield director Simon Wallis director described her as «one of the strongest and most singular voices working in British art today».

Stuart Comer, the museum's chief curator of media and performance art, described the piece as «a watershed transition in her work, about activating a social and political space for the viewer.»

Curator of Media Arts Rudolf Frieling describes Murata's work as «a nightmare of viral editing in which all material becomes an endless liquefied abstraction of information.»

His recent solo exhibitions at the Museum of Contemporary Native Arts in Santa Fe, New Mexico (2012) and at Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba (2013) highlighted his most recent work — a striking series of small works on paper and panels and an impressive collection of large scale paintings on canvas — work he describes as «rooted in Indigenous abstraction and Modernist aesthetics».

Enrique Juncosa, former curator of the Irish Museum of Modern Art and Miquel Barceló's solo exhibition at the Venice Biennale, describes Barceló as «one of the few contemporary artists who feels comfortable working in a rural idiom.

The new works created in his fellowship year were featured in a solo exhibition at the Museum of Contemporary Native Arts in Santa Fe, which Feodorov described as «a pivotal stage» in his career.

The Pennsylvania Academy of the Fine Arts in Philadelphia has mounted the first major retrospective of his work - art that curator Ruth Fine describes as «complex and beautiful.»

As also for Budi Tek, «it is with confidence that these works can be displayed at the Yuz Museum, described as arguing for the complexity of this era, reflecting the leading trends of new art of today, in China and in the world and mirrored as such in the Yuz Collection»As also for Budi Tek, «it is with confidence that these works can be displayed at the Yuz Museum, described as arguing for the complexity of this era, reflecting the leading trends of new art of today, in China and in the world and mirrored as such in the Yuz Collection»as arguing for the complexity of this era, reflecting the leading trends of new art of today, in China and in the world and mirrored as such in the Yuz Collection»as such in the Yuz Collection».

(Plus, overuse of art - speak often comes across as an amateur who's showing off terminology s / he just discovered) * An artist statement should ideally describe the work well enough that a person could guess with reasonable accuracy which work in a group show goes with the statement * The statement should be interesting enough to make someone want to seek out the work and learn more I'm definitely going to point people to this post as well, as there are some great ideas here.

UND 6 — INTERCONTINENTAL is a group show of international artists exhibiting at Schwartz Gallery working within what could broadly be described as non-objective contemporary art.

He describes how artists, artist groups, printers, and publishers - working within roughly the last 20 years - have employed digital technology and exploited essential qualities of printmaking (such as multiplicity and collaboration) in a myriad of ways to produce conceptually rich and technically complex works of art.

In conjunction with Robert Irwin: Scrim veil — Black rectangle — Natural light, Whitney Museum of American Art, New York (1977), writer Lawrence Weschler reflects on the life and work of the artist he has described as one of the «most interestingly and fruitfully contradictory figures on the art scene today.&raqArt, New York (1977), writer Lawrence Weschler reflects on the life and work of the artist he has described as one of the «most interestingly and fruitfully contradictory figures on the art scene today.&raqart scene today.»

In terms of content, much of the work this year seems to be revisiting the crisis of the «post-medium condition» (e.g. the liberation of a painting from having to just be a painting), as famously described by critic Rosalind Krauss, albeit from a retrospective — perhaps even nostalgic — point of view, imagining possible futures for art - making in the wake of both rapid progressions in technology and the dematerialization of the art object.

If spare, minimalist aesthetics echoed the language of corporate lobby design, Stella's late work — once described by Dee Wedemeyer in the New York Times as the real estate developer's choice — seems to echo the bright, frivolous art that hangs on sterile lobby walls.

Joyner, a former Wall Street executive turned arts patron, is currently touring works from her and her husband Alfred Giuffrida's collection of nearly 400 works by black abstract artists including Sam Gilliam, Melvin Edwards, Mark Bradford, Shinique Smith, and Kevin Beasley, with an aim «to rewrite art history,» as Joyner described it in a recent interview.

Thomas Borgmann donates 600 works to Stedelijk Museum German collector Thomas Borgmann has donated over 600 works of art to the Stedelijk Museum, describing the institution as a «natural home» for them.